The Continental Director Albert Hughes: Unleashing the Powerhouse Women of Episode 3

Summary

The Continental is set in the 1970s and follows Winston Scott's journey from a street-wise criminal to manager of The Continental Hotel.

The content fragment has been

Expanding the realm of John Wick, the series delves into Winston's camaraderie with Charon, capturing the essence of the 1970s era. Director Albert Hughes sheds light on the hurdles encountered while filming the exhilarating third episode, along with the impromptu instance that cemented Winston and Charon's connection. Furthermore, he explores the possibility of delving deeper into intriguing characters like The Adjudicator.

Taking place several decades prior to the events of John Wick, The Continental delves into Winston Scott's journey, set in the 1970s. Through this series, we witness his transformation from a street-smart criminal to the esteemed manager of The Continental Hotel's New York branch. This expansion of the John Wick universe explores Winston's close friendship with Charon and intertwines elements from the authentic 1970s era.

The Continental boasts an impressive ensemble cast featuring Colin Woodell, Mel Gibson, Katie McGrath, Mishel Prada, Ben Robson, Hubert Point-Du Jour, and Nhung Kate. For the limited series, Albert Hughes directed the first and third episodes while Charlotte Brändström directed the second. Hughes also serves as an executive producer, alongside the acclaimed John Wick producers Basil Iwanyk and Erica Lee.

Albert Hughes Talks The Continental Episode 3

Screen Rant: This show is so much fun. That third episode is so action-packed. I loved it.

Albert Hughes: I had to watch the third episode multiple times to fully comprehend its intricacies due to the script's freshness during production. Unlike the other episodes, which had been finalized beforehand, I had ample time to familiarize myself with the material. However, the third episode presented a unique challenge as it consisted of a series of consecutive scenes. Consequently, I had to watch it repeatedly to grasp the optimal way to blend and edit the footage effectively.

That's astonishing! I actually intended to inquire about this aspect because the action sequences seamlessly blend with the character-driven narrative. How did you manage to strike such a delicate balance?

Albert Hughes acknowledges the contribution of the crew, including writer and showrunner Kirk Ward, action director and fight coordinator Larnell Stovall, and the new additions such as the cinematographer and assistant director. The collaboration between the team and the skilled Hungarian crew resulted in a cohesive and efficient production process. Despite the common practice of reshoots and pickup shots in the industry, Albert reveals that there were no reshoots or pickups for episode three of the project. While some scenes were inevitably edited out during post-production, every shot captured during filming made it into the final episode.

Wow, that's incredible!

Albert Hughes: Absolutely. Although I haven't personally witnessed it, it definitely highlights the competence and preparedness of the crew. No matter how much I strive to be prepared myself, if they're not ready, things won't come together.

Yeah. And then were you able to speak with Chad Stahelski before or during this process? And if so, did he share any wisdom with you?

Albert Hughes: Yeah. Absolutely. He had a conversation with me prior to my starting, and he was incredibly kind and generous, encouraging me to pursue whatever I was passionate about. He shared his own influences, such as Hong Kong cinema, Bob Fosse movies, and dance/musical movies, among other things. He even asked me about my own interests, which prompted me to take some time to reflect.

During the filming process, around the time I was shooting episode three, he actually called me and offered valuable advice on how to navigate the editing process with Lionsgate. His insights were particularly helpful, considering his extensive experience with the company. He even mentioned that he had a four-hour version of John Wick 4 that he would be willing to share with me if I was interested. It truly amazed me to think of a four-hour cut.

I watched an extended version of John Wick 4, although it wasn't the full four-hour cut. I believe it was around three or more hours in length. It had some noticeable differences compared to the publicly released version. The one I saw didn't include the Arc De Triomphe yet; instead, it was all filmed against a blue screen in a parking lot.

And when it comes to the concluding scenes of The Continental, they truly capture the essence of the Winston character as portrayed in the movies. Could you elaborate on the process of leading up to that final reveal?

Albert Hughes praised Colin Woodell and Ayo Adegun's portrayal of the younger versions of Winston and Charon, acknowledging their smart approach in studying movies and discussing their characters. While Albert preferred concise character discussions and did not micromanage, he found a balance with the actors in determining how their characters should be portrayed as younger versions, without merely imitating the older actors. They aimed to capture the swag and attitude, while also emphasizing the younger characters' naivety and lack of full power.

During the filming of the last episode, an unexpected moment occurred in a control room scene when Woodell and Adegun shook hands and embraced. Originally written as a straightforward scene exit, Albert suggested the physical interaction to the actors, envisioning a specific camera angle. Witnessing the emotional impact of the gesture, Albert realized the significance of this moment as the beginning of their bond. Although unplanned in the script, it symbolized the connection formed amidst the trauma depicted in the first three episodes.

The moment at the bar where the Avengers gather for Shawarma was a true Avengers moment. I was expecting that to be the moment where the audience would witness their relationship bond. However, it was the visual of their hug that truly showcased their connection. Surprisingly, that hug wasn't planned, but rather an improvisation that occurred on the day.

I find that truly amazing. Now, could you discuss the process of developing The Adjudicator to ensure that she stands out from the previous version we encountered in the film?

Albert Hughes expressed his intense fascination with various characters, including the mail room attendant and The Adjudicator's henchman. Despite being unaware of the casting, he began gathering details about the role, eventually discovering Katie McGrath, who he believed would excel in the part. The original Hungarian smile mask, designed to enhance mental well-being, was modified to feature geisha and kabuki-inspired porcelain lips. The character's wardrobe predominantly consists of purple, serving as a tribute to the filmmaker's mother and other significant influences. As the process unfolded, the makeup, hair, costumes, and concept drawings further contributed to the character's allure, inspired by McGrath's impressive portrayal in "John Wick 3" as a strong and enigmatic individual.

The intriguing aspect of this character is their imposition of laws, predominantly on men, administered by women. These women serve as judges, deciding between death, violence, punishment, or the establishment of rules. These powerful assassins in this world often adopt a condescending demeanor. It is compelling to witness women take on this role in a gender-neutral world. In this world, both men and women possess equal power, and anyone, regardless of gender, can be killed. I appreciate that the world portrayed in John Wick lacks a prejudiced perspective towards action, demonstrating the belief that all is fair in love and war.

Would you have liked to explore that character further?

Albert Hughes continues to be fascinated by both characters to this day. He remains intrigued by the character from the film series, whose demise and character arc were never revealed. The absence of her presence in the fourth installment further heightened his curiosity. He admits to disliking her in a gratifying way, eagerly anticipating her overdue comeuppance. However, he finds it interesting that it never actually materialized.

Not only are these characters captivating, but any iteration of them at a different time also holds his interest. Their enigmatic nature sets them apart from other mysterious figures in the John Wick universe. Hughes is particularly intrigued by their origins and training.

I really enjoyed it and I'm curious if there are other aspects of the John Wick universe that you'd like to delve into. It seems like The Adjudicators are definitely of interest, but are there any other areas?

Albert Hughes: No, I am truly satisfied with what I accomplished with this talented cast, crew, and story. However, there is potential for it to expand further. I'm not sure if I'll be the one to do it, as that's still being debated, but I believe exploring the early 80s and capturing the aesthetics and atmosphere of that time could be intriguing. Additionally, there is a moment involving Winston that could be explored, considering the expression "absolute power corrupts absolutely." Does he fall into the same trap as Cormac and have to learn a difficult lesson about ruling that world in a certain way?

Here are my fanboy questions that I discuss with Kirk Ward, the writer and showrunner. Apart from that, the twins are intriguing and humorous. The John Wick universe is pulpy and campy in a sophisticated way, meant for enjoyment. It purposely leaves some mysteries unanswered because any logical scrutiny could dismantle it easily. The aim is to embrace and indulge in this fun and whimsical universe.

Absolutely. This nicely brings me to my next question. Cormac introduces a distinct managerial style for The Continental, differing from what we saw with Winston. Could you elaborate on how you set him apart and establish his unique approach?

Albert Hughes describes Cormac as a sociopathic and power-hungry individual, lacking the intelligence and sophistication of Winston. Cormac runs the place in a disorganized and unpredictable manner, resembling autocrats and dictators throughout history. Despite ruling over just one building, he exhibits a dictatorial and authoritarian nature. It is easy to anticipate his next actions, which are likely to be extremely unconventional. In contrast, Winston, although thrust into this situation involuntarily, must figure out how to bring order, class, organization, rules, and societal norms to the building.

Definitely. And then we get to meet a few other assassins in this final episode. I think my favorite is the guy with the machetes, because that was just hilarious.

Albert Hughes expressed his anticipation for the mention of the elderly man equipped with the sniper. While it was an exhilarating moment, his excitement grew even further when a mysterious individual appeared wielding machetes and wearing a mask. Intrigued, he yearned for more of this captivating character.

Albert Hughes: The intriguing aspect of that character lies in the fact that we were aware that he would be targeted by Winston, shot at, and yet, he would persistently advance. It dawned on me that we needed to address this peculiar behavior since we had already filmed his introduction, where he is seen snorting a certain substance. I proposed that he must have been under the influence of drugs because there seemed to be no other logical explanation.

I find the introduction of these characters incredibly captivating. Could you discuss the process of crafting these characters who have limited screen time, yet leave a significant impression?

Albert Hughes explained that in order to create interesting characters, they needed to work closely with the costume department, hair and makeup team, stunt coordinator, director, and Kirk. These characters had to be captivating even though they only appeared briefly and were not present for full scenes. Among all the characters, Hansel and Gretel were particularly well-established.

In a hotel filled with eccentric assassins, there was an opportunity to embrace the wild and wacky. However, one had to be cautious since the story was set in the 70s. They didn't want characters wearing bell-bottoms simply for comedic effect without any purpose behind it.

Can you talk about interweaving KD's story with the other people who are hunting for Cormac?

Albert Hughes believes that KD's story is intriguing because she is the true heart and catalyst of the narrative. Despite not being an assassin or directly connected to John Wick's world, KD holds personal motivations for her quest. In an often overlooked aspect of the third episode, it is the women – Dominican, Puerto Rican, Black, Vietnamese – who handle all the necessary business. Mishel Prada, a Dominican-Puerto Rican actress, takes charge of the final, most significant task, showcasing the progression of her character's journey.

The intriguing aspect of people's reaction to the shows is that they often miss the underlying subtext or sub-story, which is actually the true protagonist's story. Winston is quite cunning and rarely involves himself directly in dirty work. There is a glimpse of him getting his hands dirty towards the end, but he primarily operates as a chess player, strategically maneuvering the pieces. In the film series, he is depicted as the smart character who calmly sits in the vault, enjoying a whiskey, while chaos unfolds around him. Winston is the one who opts to spectate rather than get involved.

Definitely. I love that it was women who were the badasses of the show. That was so much fun for me.

Albert Hughes: Oh, me too. My mom would be proud. Oh, she is, I think. She's still alive.

I really enjoyed it. What aspect of this process has surprised you the most?

Albert Hughes: The most surprising part for me was the enjoyment I derived from it, as well as the amazing dedication and ambition of the Hungarian crew. The actors were also incredibly goal-oriented and ambitious, which was a pleasant surprise. Additionally, we had a lot of fun every single day. When working on a project, whether it's a movie or television, you experience a mix of emotions on a daily basis - successes and failures, highs and lows - all happening multiple times within the same day.

However, the feeling of surprise and excitement of going to work every day is something I have never experienced before. It could be attributed to the absence of social concerns such as slavery or inner city violence which I have tackled in my previous movies with my brother. Additionally, I am fortunate to be surrounded by a dedicated and driven crew and actors who are fully committed to their roles.

About The Continental

Don't miss our other interviews with The Continental:

Director Charlotte Brändström

Sound Designer Luke Gibleon

All three episodes of The Continental are available now on Peacock.